He amazes Athens with theatre and Cannes with cinema Michalis Konstantatos talks about the performance Parklife as well as his next goal

By Achilleas Kourias

He managed to make Cannes Film Festival 2011 focus on him approaching nothing more than those routine dead ends which rise before us, those problems that he as well as all of us perceive as given. With the arts contribution, Michalis Konstantatos says to mcf.gr, walls fall down and then our eyes see afresh, more clearly, things which until then ignored as if they were trivial. The director of the play Parklife talks to us about the work of blind spot team that is going to be presented until June 2nd at Michael Cacoyannis Foundation, as well as his new, cinematic this time, goal that has already been internationally recognized, whilst it still has to overcome difficult conditions of a unique, Greek reality.

Those who enjoy the theatrical performance Parklife by the Blind Spot team in direction and texts of the people who have been the Cannes chosen with Luton, had or will have the opportunity to understand that in both works really concerns you a realistic approach of reality. You talk about the dead ends which modern people are asked to deal with into the cruelty of routine. What really leads you to these stories?

The play Parklife is the cooperation outcome of all the productions members. In the first place the actors who perform successfully the text of Yota Argyropoulou (the other main partner of blind spot team as well) and Thanasis Dovris. Equally of all the other members who all together have worked in common direction. I think that your question already gives, somehow, an answer. Being modern people as well citizens of a vast city in Western society- we all observe as well as experience ourselves the dead ends that people are asked to face in their routine. Hence we are directly involved into it. We do take for granted a lot of things of our routine, thats why we undervalue them. Thats the risk of it and these precisely are the principal parts, the ones that someone might ignore, which we want to highlight.

What is the arts part regarding these, undervalued by some people, aspects of our life?

The arts part in regards of all our lifes aspects is always to throw light on them, to bear questions and discover constantly something through it.

As far as your artistic point of view is concerned, in Parklife play we saw you combining the cinematic with the theatrical language and integrating in ones practices elements form the other. Are there boundaries among them or limitations that shouldnt be exceeded? How really such a dialogue can be accomplished?

Despite their close relationship, cinema and theatre are two completely different things. Their dialogue, however, could accomplish wonderful results; I consider it fruitful and necessary. However there is no formula in order to be achieved. I do generally believe in dialogue among the arts. Art is there in order to blow over walls not to build them.

The selection of the under process feature film of yours, entitled Luton by the Cannes Film Festival 2011 and especially by the board of L’ Atelier Cinefondation, for those who are aware of your work seems to be a normal build up. However, how unforeseen such an international acknowledgement as well as support could be for you personally? What kind of feelings a young creator would have hearing news like that?

I really believe in luton project and we have worked hard for its development. So the international recognition and its support by such an important constitution like L’ Atelier was indeed a victory for all our efforts and of course a satisfaction for me as well as my partners.

Which are your expectations in regards of the commercial success as well as the artistic adequacy of the in question project? Will things be easier following such an important distinction or the fulfilment of your vision still remains rather a bet?

The aim is without a doubt a high artistic outcome. That will bring whatever else follows (i.e. a commercial success). An important distinction usually and it is quite reasonable- make things a bit easier. Living, though, in the unique Greek reality, we all know that nothing follows the rules of rationality. Well the bet remains as far as the completion or not of the project is concerned, because still the necessary Greek funding must be found in order to complete the budget.

Cinema or theatre after all? Where actually Michalis Konstantatos place himself and where is he determined to devote all of his creative energy?

I have mentioned it before, they are two completely different things. Each one has its own times and its own different quality of energy to be devoted by someone. The fact that I want, moreover, I do both replies itself.

See more details about the play Parklife with a click here